Jordan Nassar

Sep 1, 2024 | artforum.com | Travis Jeppesen |Charlotte Kent |Andrew Uroskie |Jordan Nassar

IN ART CRITICISM covering exhibitions of decorative arts or crafts, the display of marginalized media such as textiles is often cast as a newsworthy novelty and even a subversive intervention in the world of fine art. As a trio of recent exhibitions demonstrate, however, textiles have been an important, elite, even “fine” art since at least the fourth century BCE.

Aug 19, 2024 | artforum.com | Travis Jeppesen |Charlotte Kent |Andrew Uroskie |Jordan Nassar

Wilfredo Prieto’s Illuminated Stone and Unilluminated Stone, 2012–14IF YOU’RE LUCKY ENOUGH to be in Venice on a sunny day, it will take your eyes a while to adjust after you enter the Teatro Fondamenta Nuove on the northern bank of Cannaregio. A curtain is lifted, and suddenly you are enshrouded in darkness. It is nearly all-engulfing: Just across from the entrance, there is a single spotlight forming a circle on the floor, toward which your eyes naturally gravitate.

Jun 5, 2024 | mutualart.com | Jordan Nassar

Through traditional mosaics and tilework, Jordan Nassar explores the complexities of cultural identity and heritage Maya Garabedian / MutualArt Jun 05, 2024 In his latest exhibition, SURGE, at the Fountain Avenue location of Anat Ebgi in Los Angeles, Palestinian-American artist Jordan Nassar delves deeper into his exploration of cultural artistic practice.

Jun 4, 2024 | artforum.com | Jordan Cronk |Tina Rivers Ryan |Jordan Nassar

Odes to cinema abound at the Seventy-Seventh Cannes Film Festival Near the beginning of Arnaud Desplechin’s docfiction tribute to cinephilia, Spectateurs!(aka Filmlovers!), the French director describes the feeling that accompanied the arrival of the Seventh Art in his home country: “Cinema, at last.” A similar sentiment came to mind three nights into the Seventy-Seventh Cannes Film Festival while watching Francis Ford Coppola’s Megalopolis, which arrived on the Croisette like a shot of pure...

Jun 1, 2024 | artforum.com | Davida Fernandez-Barkan |Charlotte Kent |Andrew Uroskie |Jordan Nassar

Tesfaye Urgessa’s The Strange Host, 2022WHAT INITIALLY CAUGHT MY EYE upon entering the classroom turned gallery currently dedicated to the work of Tesfaye Urgessa at the Rubell Museum in Washington, DC, was a depiction of Frida Kahlo: a quotation of her 1938 Self-Portrait with Monkey in the upper left corner of his painting The Strange Host, 2022. Urgessa covers her eyes with the long fingers of a hand originating in the center of the canvas.